Author Archives: Ida Torres

This 3-in-1 Cleaning Robot Fits in a Backpack

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There’s something quietly revolutionary happening in the world of workplace maintenance, and it comes in a surprisingly sleek package. Meet Pulito, a cleaning system designed by Yilmaz Salman that’s challenging everything we thought we knew about keeping shared spaces spotless.

Most cleaning robots feel like expensive toys that promise the moon and deliver, well, a slightly cleaner floor. Pulito takes a completely different approach. Instead of being just another gadget you buy and forget about, it’s designed as a subscription-based service that actually makes sense for how modern workplaces function. Think of it less as a product and more as a cleaning partner that shows up ready to work.

Designer: Yilmaz Salman

What makes Pulito different is its three-pronged strategy for tackling workplace hygiene. The main unit houses a continuous air filtration system that quietly works away at improving indoor air quality while everything else happens around it. This isn’t just about appearances. We spend so much time indoors now, and air quality has become one of those invisible factors that affects how we feel and work without us even realizing it.

Then there’s the autonomous floor cleaning component, a detachable unit that handles the vacuuming and wiping without anyone needing to babysit it. It’s the kind of set-it-and-forget-it functionality that actually lives up to the promise. The robot navigates work areas independently, freeing up cleaning staff to focus on tasks that genuinely need a human touch.

And that’s where the third element comes in. Pulito includes an integrated storage drawer filled with specialized window cleaning tools designed for staff to use. Rather than trying to automate absolutely everything (because let’s be real, robot window washers still have a ways to go), it embraces a hybrid model where technology and human expertise work together. It’s a refreshingly honest approach to design that acknowledges the limitations of automation while maximizing its strengths.

The business model behind Pulito is just as thoughtful as the design itself. The rental service approach taps into the growing circular economy movement, where ownership matters less than access and sustainability. Recent projections suggest the service robot sector could hit $175 billion by 2030, and rental models are proving to increase operational convenience by 83% and sustainability by 76%. Those aren’t just impressive numbers. They represent a fundamental shift in how businesses think about equipment and resources.

For facility managers and business owners, the subscription model solves one of the biggest headaches with commercial cleaning equipment: the massive upfront cost and the inevitable maintenance nightmares. With Pulito, you’re essentially renting a service that includes the hardware, updates, and support. When something breaks or needs upgrading, it’s not your problem to solve. That’s a game changer for smaller businesses or startups that need professional-grade cleaning solutions without the capital investment.

The portability factor deserves attention too. Pulito’s main body features an ergonomic strap system that lets cleaning personnel carry it like a high-tech backpack between different zones. Look at those product shots of someone wearing it while navigating between buildings. It’s almost futuristic, transforming cleaning staff into something that feels more like tech-equipped professionals than traditional janitorial workers. There’s dignity in that design choice.

Aesthetically, Pulito doesn’t look like your typical cleaning equipment. The textured grey finish with those lime green accents feels contemporary without trying too hard. The perforated details on the air filtration unit give it an industrial-chic vibe that wouldn’t look out of place in a design-forward coworking space or a tech startup’s headquarters. It’s the kind of object you wouldn’t feel embarrassed to have sitting in your office lobby.

What Salman has created with Pulito is bigger than just another cleaning robot. It’s a complete rethinking of workplace hygiene infrastructure for the modern era. By combining autonomous technology, human collaboration, accessible pricing through subscriptions, and genuinely thoughtful industrial design, Pulito represents where facility management might actually be headed. Not a future where robots do everything, but one where smart design makes both human workers and automated systems more effective together.

The post This 3-in-1 Cleaning Robot Fits in a Backpack first appeared on Yanko Design.

Canyon’s Hexagon Charger Makes Wireless Charging Actually Cool

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When you think about wireless chargers, your mind probably goes straight to flat discs or boring black rectangles scattered across your desk. But VLND Studio just flipped that script with their Wireless Charging Station for Canyon, and the design world took notice. This isn’t just another tech accessory pretending to be minimal. It’s a genuine rethinking of how charging stations can look and function.

The Hexagon 310, as it’s officially called, is part of Canyon’s newly introduced Hexagon series. What makes it stand out? That distinctive hexagonal smartphone charging pad that gives the whole station its name and personality. While most charging stations try to disappear into your space, this one demands to be seen, but in the best possible way. It’s sculptural without being pretentious, technical without feeling cold.

Designer: VLND Studio

VLND Studio’s approach here is refreshingly practical. The 3-in-1 station delivers 15 watts of rapid charging power, which means your devices actually charge quickly instead of just sitting there looking pretty. The hexagonal shape isn’t just about aesthetics either. It creates structured storage areas that guide where you place your devices, reducing that annoying fumbling around trying to find the sweet spot for wireless charging. The geometry actually helps with alignment and optimizes the limited real estate on your desk or nightstand.

Let’s talk about what you’re getting functionally. The station charges three devices simultaneously using a Qi magnetic connection that’s compatible with Apple devices. Canyon includes a 20W adapter with changeable EU and UK plugs, so you’re covered whether you’re in London or Lisbon. There are LED indicators and backlighting, plus four types of protection (over-current, over-voltage, over-temperature, and foreign object detection) built in, because nobody wants their phone turning into a hand warmer.

The Red Dot jury was particularly impressed by how the symmetrical geometry unites functional organization with what they called “distinctly futuristic aesthetics.” That’s design-speak for saying it looks like it belongs in a tech enthusiast’s setup without trying too hard. The compact design ensures stability on any surface, and those rounded edges and soft curves give it an approachable, almost friendly presence.

What’s interesting about this collaboration is that Canyon, typically known for more budget-conscious tech accessories, partnered with VLND Studio to create something that punches way above its weight class design-wise. The in-house team at Canyon (including designers Vladlens Zabelskis, Elena Alekseeva, Dmitry Romanenko, Ilya Koloskov, Vladislav Olinov, and Igor Volkov) brought their engineering expertise, while VLND Studio clearly pushed the aesthetic boundaries.

The color options show restraint in the best way. You can choose from light grey with an orange accent, cool grey with blue, or an all-black version with green. That pop of color in the vertical support column adds just enough visual interest without overwhelming the minimalist vibe. It’s the kind of detail that makes you smile when you notice it but doesn’t scream for attention.

Canyon describes the Hexagon 310 as exemplifying their core vision: designing tech products that are as intelligent as they are visually compelling. That might sound like marketing fluff, but when you look at the actual product, it tracks. This charging station does more than organize your devices. It brings a little bit of joy to the mundane task of keeping your gadgets powered up.

For design enthusiasts and tech lovers alike, the Hexagon 310 represents something we don’t see enough of: everyday objects that work brilliantly while also being genuinely interesting to look at. VLND Studio and Canyon proved that wireless chargers don’t have to be afterthoughts in your space. Sometimes, they can be conversation starters.

The post Canyon’s Hexagon Charger Makes Wireless Charging Actually Cool first appeared on Yanko Design.

This 3D-Printed Roof Is Saving 2,000-Year-Old Roman Tombs

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There’s something beautiful about watching cutting-edge technology come to the rescue of ancient artifacts. At the Archaeological Complex of Carmona in Spain, architects Juan Carlos Gómez de Cózar and Manuel Ordóñez Martín have created a stunning example of this intersection by designing a 3D-printed canopy that protects Roman tombs while barely making its presence known.

The project tackles a challenge that archaeologists face worldwide: how do you preserve delicate historical sites without turning them into enclosed museum pieces? These Roman tombs have survived centuries, but exposure to the elements continues to threaten their integrity. The solution needed to be protective yet unobtrusive, functional yet respectful of the site’s historical significance.

Designers: Juan Carlos Gómez de Cózar and Manuel Ordóñez Martín (photography by Jesús Granada)

What makes this canopy special isn’t just that it uses 3D printing technology, though that’s certainly impressive. It’s the way the designers thought about the entire system. Rather than simply throwing a roof over the tombs and calling it a day, they created what’s essentially a climate-control system disguised as architecture.

The canopy features a double-layer envelope that does way more than keep rain off ancient stone. Built into this roof are ventilation and air extraction components that actively regulate temperature and humidity. Think of it like a thermostat for history, maintaining the stable conditions these tombs need to survive another few centuries. The system works passively, meaning it doesn’t require constant energy input to function, which is both environmentally smart and practical for a site that needs long-term, low-maintenance protection.

From a design perspective, the structure manages to be both present and invisible. The architects minimized the number of supports needed, creating an open, continuous space above the tombs rather than a forest of columns that would obstruct views and interrupt the spatial experience of the site. When you’re standing there, you get shelter and the tombs get protection, but the visual focus remains on the archaeology, not the modern intervention.

The use of 3D printing technology opens up possibilities that traditional construction methods can’t match. The canopy’s components could be fabricated with complex geometries optimized for both structural efficiency and environmental performance. This level of customization would be prohibitively expensive or simply impossible using conventional building techniques. Plus, the printing process allows for precision and repeatability, ensuring each element fits together exactly as designed.

Another thoughtful touch is that the entire system is reversible. This might not sound exciting, but it’s actually a big deal in heritage conservation. The principle of reversibility means that if better technology comes along, or if the site’s needs change, this intervention can be removed without damaging the original tombs. It’s a humble approach to design, acknowledging that today’s cutting-edge solution might be tomorrow’s outdated method.

This project sits at a fascinating crossroads of disciplines. It required archaeological expertise to understand the site’s needs, architectural skill to design an elegant solution, engineering knowledge to make it structurally sound, and technological savvy to leverage 3D printing capabilities. The fact that two PhD architects pulled this together speaks to the increasingly interdisciplinary nature of modern design work.

For anyone interested in how technology shapes our relationship with the past, this canopy offers a compelling case study. It proves that preservation doesn’t have to mean freezing things in time or hiding them away. Instead, smart design can create conditions where ancient sites remain accessible and experiential while getting the protection they need.

As 3D printing technology becomes more accessible and sophisticated, we’ll likely see more projects like this one. The ability to create custom, site-specific solutions for complex problems is exactly what heritage sites need. These tombs in Carmona are getting a second chance at longevity, wrapped in a protective embrace that honors both their ancient origins and our modern capabilities.

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Rain, Light, and Lunch: Inside Ubud’s Circular Bamboo Oasis

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There is a moment at Juna Ubud when you forget whether you’re indoors or out. You’re sitting at your table, the air is soft, the light is filtered, and above you a circular bamboo roof seems to hover, tiered like a rice terrace in the sky. Somewhere overhead, rain is quietly being choreographed.

Designed by Pablo Luna Studio, Juna is a Balinese restaurant that treats climate as its main collaborator. The building is essentially a circle, pulled open and layered so light, air, and water can move through it with almost theatrical precision.

Designer: Pablo Luna Studio

Instead of a heavy roof that just keeps weather out, Juna’s canopy funnels rain toward a central point. The tiers step and vent toward the middle, so water is guided inward while views and breezes stay open at eye level. The effect is part stadium, part shrine, part sci‑fi pavilion. You feel sheltered but not sealed.

At the core sits a courtyard with a pond and lush planting, the kind of green pocket that makes you slow down whether you meant to or not. This is where that carefully collected rain completes the story, feeding a micro‑landscape that cools the air and mirrors the roof above. It is climate control as choreography: water falls, air flows, light shifts, and the architecture simply sets the stage.

The structure itself is a study in how “natural” can still feel sharply designed. A forest of bamboo arches and A‑frames defines the dining space, but the geometry is crisp, almost graphic. The bamboo isn’t rustic background texture; it behaves like a drawn line, tracing curves, spans, and thresholds. Look closely and you see intricate joinery, where each connection feels both handcrafted and engineered.

On top of that bamboo skeleton, the roof is finished with ulin wood shingles, crafted by local artisans. The shingles give the whole volume a tactile, scaled surface, like a creature that has grown here over time. Near the center, a skylight made from clear panels sits on a steel frame that has been finished to visually melt into the bamboo, keeping the roof watertight without breaking the illusion of an all‑natural canopy.

For a restaurant, all of this could have turned into spectacle. Instead, the architecture mostly frames what’s around it. The site is on an elevated stretch of Ubud, with views westward over a river and rice fields. The building doesn’t compete with that; it edits it. Open sides and carefully placed arches direct your sightlines out toward the landscape, so a casual glance from your seat becomes a composed view.

What’s interesting here for anyone into design is how Juna feels like a quiet rebuttal to the glass‑box global aesthetic. This is not a sealed, air‑conditioned capsule that dominates its plot. It rides the existing contours and leans on passive strategies: shade from the broad roof, cross‑ventilation through the open sides, evaporative cooling from the central pond. The “technology” is mostly physics, material intelligence, and local craft.

Yet the project doesn’t romanticize tradition. The hybrid of bamboo, steel, engineered skylight panels, and carefully detailed shingles is a reminder that sustainable architecture today is rarely about going backward. It is about stacking old knowledge and new tools until they click into something that feels both inevitable and fresh. There is also a social scale question that Juna answers with surprising clarity. The circular plan pulls people into a shared field of view, but the layered roof and arches break the space down into more intimate pockets. You’re aware of the room as a whole, yet your table still feels like its own scene. For a restaurant, that balance is gold: collective energy without the food‑court vibe.

Juna fits into a growing fascination with eco‑spectacle spaces, the kinds of venues that show up endlessly in travel reels and architecture feeds. But what makes it more than a backdrop is that the photogenic moves are doing real work. The halo of bamboo, the stepped roof, the reflection of the pond, the dappled light; all of it is performance with purpose, tuned to climate, craft, and comfort. If you’re into design, this is a case study in how a single strong gesture a circle in plan, a ring in section, a crown in elevation can carry an entire project. If you lean more toward tech, it is a reminder that sometimes the smartest system is the one that requires no app, no interface, no instructions. Just gravity, airflow, and a roof that knows what to do when it rains.

The post Rain, Light, and Lunch: Inside Ubud’s Circular Bamboo Oasis first appeared on Yanko Design.

Lotte E&C Just Turned 5 Eggs Into the Welcome Gift You’ll Use

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There’s something refreshing about a company that doesn’t just slap their logo on a tote bag and call it customer appreciation. SWNA Office’s Earth’s Hatch kit for Lotte E&C proves that welcome gifts can be more than forgettable tchotchkes collecting dust in a drawer. This is design that actually thinks about the person receiving it, and what they might genuinely need in their daily life.

The kit arrives in a birdhouse-shaped package made from pulp paper, the kind that feels substantial in your hands. Strip away the paper band, and inside you’ll find five egg-shaped magnetic objects nestled in protective pulp packaging. The whole experience feels deliberate, like opening something that was designed to be opened, not just shipped.

Designer: SWNA Office

But here’s where it gets interesting. Those five eggs aren’t just decorative items you’ll stash away and forget. Each one serves a specific purpose at the threshold of your home, that chaotic zone where packages pile up and keys mysteriously vanish. One egg contains a ceramic-blade box cutter for safely slicing through Amazon deliveries. Others function as magnetic hooks and holders, perfect for hanging access cards, food waste sorting tags, car keys, or that shoehorn you’re always hunting for when you’re already late.

The egg shape itself is surprisingly smart from a user experience perspective. It’s soft and rounded, fitting comfortably in your palm. The scale feels just right, not so small that it’s fiddly, but not so large that it dominates your door. There’s a gentle familiarity to holding an egg, even one made from recycled plastic. It’s a form we all understand instinctively.

The birdhouse package transforms into a refillable tissue holder after you’ve unpacked everything. The circular opening on the side isn’t just aesthetic; it’s functional, letting you see at a glance when you’re running low. Made from vegan leather, it brings a soft contrast to the stone-like texture of the eggs. The eagle motif threading through both the eggs and the “nest” creates visual continuity that feels intentional rather than gimmicky.

What makes this project worth paying attention to is how it handles sustainability without being preachy. Sure, the eggs are made from recycled plastic and the case uses vegan leather, but the kit doesn’t stop at material choices. It’s designed to make eco-friendly living more manageable. That box cutter with the ceramic blade helps you break down boxes properly for recycling. The sorting tools encourage proper waste management. The kit isn’t just made sustainably; it helps you live more sustainably.

This is where corporate gifting usually fails. Most welcome packages are essentially branded advertising that recipients tolerate. Earth’s Hatch flips that script by centering utility. The magnetic feature is particularly clever because it solves a real problem. How many times have you frantically searched for your keys or access card? Now they have a dedicated spot right by your door, held by these smooth, tactile objects that are actually pleasant to interact with daily.

The name itself, Earth’s Hatch, captures what Lotte E&C seems to be going for with their “safe planet project.” It’s about emergence, about something new coming into being. The eagle egg symbolism reinforces that idea of potential and care. Eagles are protective of their eggs, just as we should be protective of the planet. It’s a bit poetic for a construction company, but that’s precisely what makes it memorable.

SWNA Office managed to create something that works on multiple levels. At first glance, it’s a beautiful object with its muted, speckled surface that photographs gorgeously in that minimalist product photography style we’ve all become accustomed to. But it doesn’t rely solely on aesthetics. The design holds up in actual use, which is rarer than it should be.

What this project really demonstrates is that thoughtful design can elevate even something as mundane as organizational tools and tissue holders. By connecting form, function, and meaning, Earth’s Hatch becomes more than a welcome kit. It’s a physical manifestation of a company’s values, something recipients will actually use and remember. That’s the kind of design that deserves attention.

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This $129 Bag Lets You Play Music Without Opening It

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There’s something fascinating about watching a tech company obsess over the mundane. While most electronics brands treat bags as afterthoughts (slap a logo on generic nylon, call it a day), Teenage Engineering went ahead and designed a shoulder bag that’s as thoughtful as their cult-favorite synthesizers. The Field OB-4 shoulder bag isn’t trying to be your everything bag, and that specificity is precisely what makes it interesting.

Built primarily to carry the OB-4 Magic Radio, this $129 shoulder bag features a mesh front panel that lets you play music while your device stays tucked inside. Think about that for a second. Most bags are designed to protect and conceal. This one wants you to use what’s inside without ever taking it out. It’s the kind of detail that separates product design from problem-solving.

Designer: Teenage Engineering

The construction tells you everything about Teenage Engineering’s priorities. The shell uses tear and abrasion-resistant nylon 66 with a fire retardant treatment and PU backing for water repellency (1500 mm rating on the black version, 3000 mm on the white). These aren’t vanity specs. They’re the materials you’d find on technical outdoor gear, applied to something that’ll probably spend more time on subway cars than mountain trails. It’s overbuilt in the best possible way.

The bag features a roll-down covered opening that gives you variable capacity depending on what you’re carrying. There’s an internal pocket for your everyday small items (keys, wallet, that tangle of earbuds you swear you’ll organize someday). The back pocket uses hook-and-loop closure and is specifically sized for cables and the Ortho remote. Again, that specificity. Teenage Engineering could have made generic pockets, but they measured their own accessories and built compartments around them. You can wear it crossbody style or grab the side handle for hand-carry mode. The adjustability matters because context shifts throughout your day. Crossbody when you’re navigating crowds, hand-carry when you’re sitting at a cafe. The bag adapts rather than forcing you to commit to one carrying style.

What’s compelling here is how Teenage Engineering approaches accessories. This isn’t merchandising. It’s extension of philosophy. The same company that makes the OP-1 synthesizer (a device that prioritizes tactile joy and visual clarity) isn’t going to phone in a bag design. They’re known for products that look like nothing else on the market, that Dieter Rams-meets-Nintendo aesthetic that either clicks with you immediately or leaves you cold. The Field OB-4 shoulder bag comes in black or white, maintaining that minimal color palette Teenage Engineering loves. Custom-made aluminum hardware and YKK EXCELLA zippers keep everything smooth and reliable. These are components you’d find on high-end luggage, the kind of details most people won’t notice until they’ve used cheaper alternatives.

Is this bag essential? Absolutely not. You could carry an OB-4 in any number of generic shoulder bags. But you’d lose the mesh front functionality. You’d lose the precise pocket sizing. You’d lose that feeling of using a complete system where everything has been considered. Teenage Engineering has always existed in this interesting space where consumer electronics meet design objects. Their products cost more than alternatives because they’re selling coherence, not just capability. The Field OB-4 shoulder bag extends that logic into accessories. It’s designed for people who already bought into the ecosystem, who appreciate when someone sweats the details nobody asked them to perfect.

At $129, it’s positioned as a premium accessory, not an impulse add-on. That pricing filters for the audience who gets it, who understands why you’d spend serious money on a bag for a portable speaker. It’s the same crowd that bought the OB-4 in the first place, people who could’ve gotten a Bluetooth speaker for fifty bucks but wanted something with personality instead. Whether you need this bag depends entirely on whether you value design specificity over universal functionality. For the right person, this is exactly what they’ve been looking for. For everyone else, it’s an interesting case study in how far product design can go when companies refuse to take shortcuts.

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The Cutest (or Creepiest) Coffee Maker You’ll Ever Own

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One of the things that is on my soon to buy for this year is a moka pot. I’ve been intrigued about this Italian way of brewing an espresso-like coffee through steam pressure. It’s obviously cheaper than an actual espresso machine and some coffee lovers have said that it tastes even better since it’s a more “natural” way of pulling the espresso shot. There are some interesting colors out there but the design has remained relatively the same. It’s like when you see one moka pot, you’ve seen them all.

This product concept by Davide Bozzo wants to reimagine the iconic Moka pot and turn it into something both functional and whimsical. The MOKY blurs the line between industrial design and art collectible as it is designed to look like the Tin Man is brewing your coffee for you.

Designer: Davide Bozzo

The pot’s design is that of a metallic figure sitting down and just waiting to be steamed to give you the perfect cup. It comes complete with a face and limbs which may freak some people out or which some may find really cute, depending on how you feel about anthropomorphic objects.

While it looks cute or scary, it still comes from authentic Italian design heritage with its fresh, modern metallic aesthetic. This combination of the metallic soul and the modern reinterpretation means it’s something that’s meant to be displayed and not hidden in your cabinet, even when you’re not brewing a cup.

What makes MOKY particularly interesting is how it taps into the growing art toy market. If you’ve been following design trends lately, you’ve probably noticed how collectible designer toys have exploded in popularity. These pieces aren’t just for kids or hardcore collectors anymore. They’ve become legitimate design objects that sit comfortably on shelves next to books, plants, and other carefully curated décor items. MOKY fits perfectly into this space because it offers something most art toys don’t: actual functionality.

Think about it. Most collectible figures just sit there looking pretty, which is fine, but MOKY actually does something. Every morning when you brew your coffee, you’re interacting with your art piece. It becomes part of your daily ritual, which creates a deeper connection to the object than something that just gathers dust on a shelf. There’s something really special about design that serves multiple purposes, especially when it does both jobs so well.

The fact that it’s designed in Milan also adds another layer of credibility. Milan isn’t just any city. It’s the global capital of design, home to some of the world’s most prestigious design schools and the famous Milan Design Week. When something comes from Milan, it carries a certain weight, a promise that real thought and expertise went into its creation. Davide Bozzo isn’t just slapping a face on a coffee maker and calling it art. He’s taking a beloved cultural icon and genuinely reimagining it for a new generation of design enthusiasts.

For collectors, MOKY represents something truly unique in a market that’s often saturated with similar concepts. It’s not another vinyl figure of a popular character. It’s not a recolor of an existing design. It’s a fresh take on something familiar, which is exactly what makes great design collectibles so appealing. You get the joy of recognition combined with the thrill of discovery. Plus, as coffee culture continues to thrive and people invest more in their home brewing setups, pieces like MOKY become conversation starters that bridge multiple interests.

Whether MOKY ever makes it to production remains to be seen, but as a concept, it perfectly captures where design is heading: playful, functional, collectible, and unafraid to reimagine the classics. It proves that even the most traditional objects can be transformed into something that makes you smile every morning while still honoring what made them special in the first place. And honestly, isn’t that exactly what good design should do?

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This AR Ski Helmet Finally Lets Rescuers Control Tech By Eye

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Imagine being a ski patrol responder racing toward an injured skier on a freezing mountain. Your hands are gripping poles, your attention is split between the terrain and the emergency ahead, and your radio crackles with critical information. Now imagine if you could access maps, communicate with your team, and log vital data without ever touching a device. That’s exactly what the Argus AR Helmet promises to deliver.

Designed by Hyeokwoo Kwon and Junho Park, Argus is a concept that reimagines what rescue technology can look like when you strip away everything unnecessary and focus on the moment that matters most. This isn’t just another gadget trying to cram features into a helmet. It’s a thoughtful response to a real problem: how do first responders stay connected and informed when their hands are literally full and seconds count?

Designers: Hyeokwoo Kwon and Junho Park

The helmet’s standout feature is its eye-tracking interface. Instead of fumbling with buttons or voice commands that get lost in howling wind, users control the AR display simply by looking at what they need. Want to view a map overlay of the ski area? Glance at the navigation icon. Need to send a message to base? Your eyes do the work. The system is built around the idea that in high-stress, time-critical situations, the fewer steps between thought and action, the better.

What makes this particularly clever is how it handles communication in one of the noisiest work environments imaginable. Mountains are loud. Wind, equipment, helicopters, and panicked voices create a constant wall of sound that makes radio communication frustrating at best and dangerous at worst. Argus addresses this with real-time conversation-to-text conversion. Spoken words are automatically transcribed and displayed on the visor, ensuring that critical information doesn’t get lost or misunderstood. In an emergency where “stop the area” versus “stop near the area” could mean completely different courses of action, that clarity is potentially lifesaving.

The design itself strikes a balance between futuristic and functional. The white shell with bold red accents and Swiss cross branding gives it a clean, authoritative look that fits naturally into the visual language of emergency services. The transparent visor integrates the AR display without creating the bulky, intrusive appearance that often plagues wearable tech. There’s a modularity to the system too, with a detachable power pack that ensures the helmet remains comfortable for long shifts while providing enough battery life to last through demanding rescue operations.

From a practical standpoint, Argus is designed to support ski patrol operations across experience levels. A rookie responder gets the same information overlay and guidance as a veteran, creating a more consistent standard of care. Route optimization, hazard warnings, victim location data, and communication logs all live within the user’s field of vision, accessible without breaking focus from the task at hand.

But beyond the specific use case of ski patrol, Argus represents something larger about where wearable technology is headed. We’re moving past the era of tech that demands our attention and toward interfaces that disappear into the background until we need them. Eye-tracking isn’t new, but applying it to life-or-death situations where gloves, weather, and adrenaline make traditional controls impractical shows how design thinking can solve problems that raw computing power can’t.

There’s also something refreshing about seeing concept design tackle unglamorous but essential work. We’re used to seeing AR prototypes aimed at gaming, shopping, or entertainment. Those have their place, but projects like Argus remind us that the most meaningful applications of emerging technology often happen in fields where people are doing difficult, dangerous work that most of us never see.

Will we see Argus helmets on mountains anytime soon? As a concept, it still needs to navigate the long road from design portfolio to production reality, including challenges around durability, battery life in extreme cold, and integration with existing rescue protocols. But as a vision of what’s possible when designers deeply understand the context they’re designing for, it’s compelling. It shows that the future of wearable tech might not be about adding more features, but about making the right information available at exactly the right moment, controlled by something as simple and intuitive as where you look.

The post This AR Ski Helmet Finally Lets Rescuers Control Tech By Eye first appeared on Yanko Design.

This Folded Knife Design Challenges 400 Years of Tableware

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Sometimes the best designs come from asking a simple question nobody bothered to ask before. For designer Kathleen Reilly, that question was: why does a knife always have to lie flat on the table? The answer came in the form of Oku, a table knife that literally hangs around the edges of your plates and boards thanks to a unique folded handle that defies centuries of Western tableware convention.

When Reilly first arrived in Tsubame-Sanjo, a region in Japan’s Niigata Prefecture known for over 400 years of metalworking tradition, she wasn’t planning to revolutionize the humble dinner knife. The Scottish metalworker had been awarded a Daiwa Scholarship in 2019 and was eager to immerse herself in the legendary craftsmanship of Japanese artisans. What emerged from this cultural exchange was something that bridges East and West in a way that feels both natural and unexpected.

Designer: Kathleen Reilly

The genius of Oku lies in that distinctive bent handle. Instead of resting horizontally like every other knife you own, it hooks over the edge of a plate or wooden board, elevating the blade and creating this almost sculptural presence on your table. It’s a design choice inspired by traditional Japanese place settings and arrangement principles, where every object has intention and purpose. But it’s not just about aesthetics. That elevated position means the blade never touches the table surface, keeping things cleaner and adding an element of interaction between the knife and whatever it’s sitting on.

The project brought together some serious talent from Japan’s craft world. The metal work came from skilled craftspeople in Tsubame-Sanjo, using techniques passed down through generations. The wooden boards that pair with the knives are made by Karimoku Furniture, Japan’s leading wooden furniture manufacturer known for both quality and sustainability. Every piece of wood is sustainably sourced from Japanese forests managed to promote conservation, and the high-quality stainless steel is domestically produced. The whole project operates under Japan’s Ministry of Foreign Affairs Sustainable Development Goals, which gives it some serious environmental credentials.

What makes Oku particularly interesting is how it challenges assumptions. Western tableware has followed basically the same template for centuries, but Reilly looked at those conventions through fresh eyes informed by Eastern design philosophy. The result is functional yet unconventional, introducing what she describes as a refined aesthetic that breathes new life into dining spaces. Dezeen Awards judges agreed, naming Oku the Homeware Design of the Year in 2022. Their comments captured something essential about the design: “Oku has a certain humour to it while being beautiful and innovative. It is a beautiful, honest and delicate design, the way the knife and the block work together has a kind of unified function that is expressed through the form of each.”

There’s something playfully subversive about a knife that refuses to behave like other knives. It perches rather than lays, it interacts rather than just existing. The form tells a story about craft traditions meeting contemporary design thinking, about respecting heritage while pushing boundaries. It’s the kind of object that makes you reconsider other everyday items you’ve taken for granted.

For anyone interested in how design can create dialogue between cultures, Oku offers a compelling case study. It demonstrates that innovation doesn’t always mean adding more features or technology. Sometimes it means looking at something familiar from a completely different angle, informed by traditions that value mindfulness and intentionality in daily rituals. The collaboration between Scottish creativity and Japanese craftsmanship produced something neither culture would have created alone, and that’s where the magic happens.

The post This Folded Knife Design Challenges 400 Years of Tableware first appeared on Yanko Design.

Even Plant Killers Can Appreciate This Beautifully Designed Germinator

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During the pandemic and even after, there were a lot of people who started becoming plant parents, growing their own plants and flowers in their backyards, on window sills, or even in just one pot. I am not one of those people, specifically because I seem to kill green things accidentally. But for those who love growing things and are looking for beautifully designed and convenient tools to help them, this germinator might pique your interest.

OV is a germinator designed by SOMbyMOS, which is basically a beautifully crafted plate to grow your sprouts using an innovative felt substrate system. You can even choose from several material options for your base to match your space’s aesthetics and to reflect your own personal style: marble, wood, grey stone, or plastic.

Designer Name: Som by Mos

Usually, some germinators use traditional mesh or plastic grids, but this one uses a felt substrate so your sprouts will stay fresh as they grow. It’s gentler on those that are more delicate and also creates better moisture distribution. Plus, it also looks more refined than the typical germination systems in the market. The choice of the base also adds an element of great design, especially if you want to marry form and function.

The marble base brings sophistication with its cool, smooth surface and natural veining that makes each piece unique. The grey stone option brings earthy texture with subtle color variations that add character. The wood variant has a more organic appeal with its warmth and natural grain patterns, while the plastic option has a more contemporary and accessible look without compromising on aesthetic quality.

This germinator is able to embrace its dual purpose beautifully. When you’re growing sprouts, you can watch as it evolves into a living piece that adorns your home. It’s probably fun to see those tiny seeds eventually become vibrant greens day by day, transforming from dormant potential into actual nourishment right before your eyes. But here’s what makes the OV special: when you’re not growing anything, it can still become a beautiful, decorative object, so you don’t need to hide it somewhere and just bring it out when you want to use it as a germinator. It deserves to stay displayed on your counter or shelf, earning its keep as a design piece even during its “off-duty” hours.

The OV comes from Barcelona-based multidisciplinary studio MOS, and their design philosophy really shines through here. They focus on turning “the ordinary into extraordinary” through thoughtful simplicity, and growing sprouts, something that usually happens in plastic containers tucked away in dark corners, becomes this elevated ritual you’ll actually want to engage with daily.

What SOMbyMOS has created is more than just a functional tool; it’s what they call a “growing ritual”. The process of tending to your sprouts becomes meditative and rewarding when your germinator is this beautiful. You’re not just checking on seeds; you’re interacting with a design object that brings joy to your space.

For those interested, the OV is available at various price points depending on your chosen material, ranging from €55 to €121, making it accessible whether you’re just starting your design collection or you’re a seasoned collector looking for something unique and functional.

Even for someone like me who struggles to keep plants alive, I can appreciate the thoughtfulness behind the OV’s design. It acknowledges that the tools we use in our daily lives should be beautiful, not just functional. While I might not trust myself with growing anything (the sprouts would probably stage a revolt), I can absolutely see the appeal for those who have that green thumb I clearly lack.

If you’re someone who loves the ritual of growing your own food, appreciates Scandinavian-inspired minimalism with a Mediterranean twist, or simply wants to add more intentional, beautiful objects to your home, the OV offers exactly that. It’s a reminder that even the simplest activities, like growing sprouts, can become something special when we surround ourselves with thoughtfully designed objects that bring us joy.

The post Even Plant Killers Can Appreciate This Beautifully Designed Germinator first appeared on Yanko Design.